1 Roman Ondák, Loop, 2009 (Czech Republic and Slovak Republic pavilion, Venice Biennale) The best pavilion at the Biennale was also the most discreet. Indeed, one hardly noticed it, since Ondák paradoxically distinguished himself via the technique of camouflage: He perfectly replicated the pavilion garden in minute detail inside the pavilion itself and thus cloaked the art space with a verdant layer of reality. In this manner, Ondák (and his curator, Kathrin Rhomberg) brilliantly short-circuited everyone trying too hard to stand out. No name, no text labels, no printed information: The visitor was spared all the usual pomp of a Venice pavilion and could delight in the fact that art might still “create an illusion” to such an extent.

2 Sion Sono, Ai no mukidashi (Love Exposure) With this November 2008 release, the Japanese director successfully invented a new, imposing film